Press
FIND NO ENEMY REVIEW OF “THE ASSUMPTION”
Bringing together a collection of renowned names in the Jazz scene in Chicago, Michele Thomas has arrived with a sublime collection of gospel-infused jazz music in ‘The Assumption’. A renowned name in the Chicago music scene, combining experience as a singer and a treasured educator, Michele Thomas was always bound to see community support when she looked for funding to actually craft her work. Her first crowdfunding resulted in her actually managing to gain finances to put out the project. The result is a eleven track expedition that combines originals and covers into a synthesis that has range, depth, and quality.
You never feel for a moment that The Assumption is stagnant or static. It continually seems to reinvent itself, constantly showcasing new stylistic elements or fresh takes on something old and treasured. Centering the record alongside a single question that is ‘What is trust?’, she pours her heart and soul into a series of track that are loaded with soul within. The first vocal performance on ‘No More’ itself immediately reels you into Thomas’ power and swagger. Even the covers don’t really adhere to a single narrative or style, with Coltrane and Blind Faith being adopted by Thomas. There’s a sparkle to the record, a sense of variety and a sheer love for the craft that comes out not just in the vocals but also in the instrumental arrangements that are each delivered with swathes on swathes of passion.
You’ll find a more slower relaxed and smooth track like ‘Love Dance’ to enjoy with a loved one and you might also find a more upbeat and engaging tune for a crowd like ‘I Know Because You Told Me So’. Thomas is clearly a storied musician, imbibing a host of influences that are resplendently displayed on ‘The Assumption’. Far from what a pretentious or snobbish jazz record meant for holier than thou purists, ‘The Assumption’ is a celebration of community. It’s for everyone, and everyone can find their piece within it. ~ Kartik Sundar
FV MUSIC BLOG REVIEW OF “THE ASSUMPTION”
Hailing from Chicago, musician Michele Thomas has released the captivating album ‘The Assumption’ in March 2022. It is a jazz record that puts Thomas as an artist at the top of her game.
‘No More’ opens the release to an attention-grabbing drumbeat before the full band enter, laying the solid foundations for Michele Thomas’s breathtaking vocal performance. Her voice is filled with heart and soul and instantly captivates the audience.
‘These Days’ is features gorgeous keys, a compelling rhythm section and charming vocals. We adore ‘Spiral’; it has beautiful, unexpected chordal progressions. Thomas’s vocal performance takes the listener on unexpected twists and turns, which keeps the listener on their toes.
Finally, ‘Can’t Find My Way Home’ closes the release, and it has the listener reaching for the repeat button!
Comments
Thomas began a crowdfunding campaign to make and release this superb record. She says about the process, “Community has played a huge role in my life. When people invest in you, and you do what you love, it can be very impactful.”
She continues, “I think my story has been about finding myself while growing up with a strong community where so many things have come from my friends and colleagues.”
Influences
Thomas cites her influences as coming from artists such as Ella Fitzgerald, Dianne Reeves and Cassandra Wilson. We can hear these muses on ‘The Assumption’ but make no mistake, Michele Thomas is a musician who stands shouldered to shoulder with these powerhouse artists.
Thomas has been joined by musicians Chris Mahieu – Rhodes/piano, Chris Greene – saxophones, Clark Sommers – bass, Neal Alger – guitar, Jeff Hedberg – trumpet, and Darren Scorza – drums on this superb album. Together they have created a piece of art that is timeless.
So make sure you add ‘The Assumption’ to your weekday playlist. Michele Thomas is an exceptional talent who you need to hear.
FVMusicBlog March 2022
SOUL TRACKS REVIEW OF “NO MORE”
First Listen: Michele Thomas stands up on "No More"
(April 14, 2022) Chicago based singer Michele Thomas uses every arrow in her musical quiver on The Assumption, her newly released album. You hear everything from gospel influenced soulful jazz to neo-soul and jazz standards. In short, Williams gives listeners who might not be familiar with her a glimpse into why she is one of the Windy City’s must-see vocalists.
The Assumption finds Thomas backed by some of the city’s best jazz musicians, and those players are fluent in all the musical languages in which Thomas is conversant. We hear the group speaking in blues, soul, jazz and gospel on “No More,” a song that sounds like a musical declaration of independence and is featured in this First Listen.
The song finds Thomas using her power packed vocal to declare that her days of being taken for granted, mistreated and devalued are over. On “No More” Thomas reminds listeners of the importance of their mental, emotional and spiritual care, and that others will damage all of those things if they are allowed to do so.
She tells us "Hearkening back to the old school, analog vibe of the 70's, I posit this composition by Hubert Laws and Jon Hendricks as my opening statement of self-validation. I felt the message of this song in my bones and I sing it for anyone looking to break free from the emotional bullying in their personal lives or in the world around them."
The tune’s message is always timely, but no more so than right now when everything from social media to the educational system can and is being weaponized, and no group feels that attack more keenly than Black women. Check out Michele Thomas’ “No More” here.
By Howard Dukes
SOUL&JAZZ&FUNK REVIEW OF “THE ASSUMPTION”
MICHELE THOMAS is a Chicago based jazz singer. A stalwart of the Windy City’s jazz scene, she’s about to release her third album ‘The Assumption’ (due March 25th) which was recorded thanks to a major local crowd funding project – a measure of the esteem she’s held in on the Chicago scene.
On the surface, the 11 tracker looks like a traditional vocal jazz album. Track wise, there’s a mix of originals and covers and a cursory listen will allow you to think of people like Ella Fitzgerald, Dianne Reeves and Carmen Lundy. Don’t make too many assumptions though (see what we did there!); this album isn’t quite as “traditional” as you might think. For starters, let’s look at the covers. You might expect a selection from the great American songbook. But no! Ms Thomas casts her net far and wide – so sit back and enjoy her interpretations of things like Blind Faith’s rock standard ‘Can’t Find My Way Home’ and the rarely covered Hubert Laws/Jon Hendricks song ‘No More’ (lovely Rhodes solo on that,by the way, courtesy of Chris Mahieu). The best-known of the covers is probably Ivan Lins’ ‘Love Dance’ on which Michele proffers a respectful version. Less “jazzy”, if you like, is one of the album’s focus cuts – ‘I Know Because You Told Me So.’ Written by Michele and Damian Espinosa, it’s sweet and laid back but maybe more Jill Scott than Ella Fitzgerald.
The album’s title, by the way, comes from the set’s theme – “how we perceive trust in various relational situations, from familial ties to intimate connections, to how we interact and view the government. So, The Black Lives Matter movement looms large I as do notions of sexism, and even, subtly, the very idea of what is jazz music”.
Review by Bill Buckley
ROADIE MUSIC REVIEW OF “THE ASSUMPTION”
Aretha, Ella and Etta, please make way for the newest diva to be in your constellation, the very inspired Michele Thomas.
The Assumption, his recently released album, is a true scandal of good taste, class and high musical content.
Michele comes with her very tuned voice shooting wonderful tones in a jazz vibe, but with a soul and R&B feeling that will take any mortal's breath away.
This new diva arrives walking through the front door and parading some of the most beautiful melodies produced in music in a long time.
One charm after another makes Michele Thomas an artist to be revered among the great names already consecrated and puts her in a position of royalty with such special vocal lines that, even though it is something new, it can already be considered an influence for anyone who has the honor to hear you.
In addition, Michele is accompanied by an excellent band that shoots, in a very competent way, the most beautiful rhythmic waves that give a very special shine to the singer's voice, forming a more than perfect set.
Metals that sound completely ravishing, give a tone of pure magic creating unimaginable colors and shining in a unique way in each of the songs.
Keyboards adorn with their melodic waves full of extraordinary beauty and, between their comings and goings, show that they can be stars alongside Michele, as well as part of the infinite universe where the singer can show her light alone.
Deliciously well-arranged guitars come into common agreement with the general rhythmic part, making your face show in the most different ways where it will be another voice or, simply, a good friend to accompany the group.
A precise bass with a lot of feeling comes into contact, almost transcendental, with each of its partners forming a solid unit, but showing its importance as a primordial element at all times.
The drums with a mischievous way, throwing their swings from side to side taking each one of the tracks to an endless dance in the huge hall of our senses like a waltz full of measures where each beat brings something different and of an indescribable richness.
The Assumption is the strongest statement that Michele Thomas appears in the world with a mission to be admired, adored and considered one of the most beautiful voices to dominate our hearts with her masterful music.
Review by Fabiano Menon
A&R FACTORY REVIEW OF SINGLE: “I KNOW BECAUSE YOU TOLD ME SO”
The jazzy soulstress, Michele Thomas, has recently released her mould-breaking neo-soul single, I Know Because You Told Me So, which may be one of the most narratively-immersive jazz-fusion singles ever released.
The questioning, bold and introspective lyrics come into play once you’re suitably pacified by the mellifluous instrumental grooves. Becoming invested in the narrative that sheds a light on Thomas’ experience in the world is non-optional. Her gospel-Esque chanteuse vocals allow her vibrant and pure-hearted energy to radiate in the single that carries enough ease to fall into the easy-listening category. Yet, thanks to her vocal performance, I Know Because You Told Me So certainly isn’t without its revitalising zeal.
After finding her voice through gospel music, the Chicago-based singer-songwriter, entrepreneur and educator turned her stylistic grace to the freedom in the improvised nature of jazz. The airwaves are infinitely better for it.
I Know Because You Told Me So is now available to stream on Spotify.
Review by Amelia Vandergast
COMPOSER’S CAFE FEATURING MICHELE THOMAS
The Composer’s Cafe’ hosted by Lynn Colbert-Jones, is monthly livestream event featuring songwriters, and discussing who they are and what inspires them to create.
I was honored to join singer-songwriters David P. Stevens and Sara Geist on this episode where we performed and had some stimulating conversation about writing music!
This livestream aired on February 20, 2022
CHICAGO JAZZ MAGAZINE
Jazz musician, vocalist and songwriter, Michele Thomas has a new group she will be debuting this weekend (December 16th & 17th) at Pete Miller's in Evanston called SoulMeme.
12.14.2016
Jazz musician, vocalist and songwriter, Michele Thomas has a new group she will be debuting this weekend (December 16th & 17th) at Pete Miller's in Evanston called SoulMeme. We caught up with Thomas to learn more about how she got started in music, the different styles of music she loves that has helped to shape her sound and the new group she will be debuting this weekend.
Chicago Jazz Magazine: You have been performing around Chicago for many years but I think it would be interesting for our readers to learn more about where you grew up. Did you grow up in Chicago and were your parent’s musicians or into music?
Michele Thomas: I grew up on the west side of Chicago in the North Lawndale neighborhood. Ogden Avenue was on one side of our block and Cermak Road was on the other side, and you could stand on the corner of Lawndale and Ogden and see clear through to the downtown skyline - the Sears Tower and everything...And my parents were definitely very musical. My dad was a preacher and loved to sing. My mom learned to play piano from a young age and grew up playing and singing in church. They were big gospel music connoisseurs and in addition to a huge record collection they invested in both an upright Baldwin piano and a B-3 Hammond organ for our house - so their love of music was pretty serious. My mom in particular loved Sam Cooke and casually talked about how he often came through the local church scene and would sing at a lot of the black churches on the Westside. She also had a secret love for Oscar Peterson, but had to keep it to herself as my dad was pretty religious and not down for playing that “devil’s music” in our house, which was hilarious.
Chicago Jazz Magazine: Was there a specific artist or experience that influenced you and introduced you to jazz music?
Thomas: Funny enough, my earliest memory of jazz music kind of coming into my psyche was at 6 or 7 years old watching Mister Rogers Neighborhood. I didn’t know I was listening to jazz or who Johnny Costa was but he and the trio backing up that show was everything! I mean, how lucky were we as kids to hear that caliber of music on a children’s show? But later on, when I got to high school, my jazz band director would give me my very first jazz album which was Ella Fitzgerald singing Gershwin songs that was arranged by Nelson Riddle. She scatted over Lady Be Good and my mind was blown - so after that I was hooked.
Chicago Jazz Magazine: When did you decide, you wanted to make music your profession? Was there a specific performance that gave you the confidence that you could do it for a living?
Thomas: I’m very much an introvert so it took me a long time to come to terms with the fact that I wanted to perform professionally, even though ironically enough I had been singing in front ofa lot of different audiences for most of my life and was studying music at a high school for the fine arts. Plus, my dad in particular was not too keen on me getting into the “show business”, so I really had a hard time envisioning a viable path to a music career. After high school, I didn’t get into university right away, so I took a year off and went part-time to Triton College out in River Grove, IL so I could figure out what I was doing. There I met Shelley Yoelin and Rich Armandi who were heading up the jazz combos and jazz band there, and they got me involved and were really encouraging to me, and it helped me to feel like a career was a bit more of a possibility. So that eventually led me to go to a university and study for a music degree. Joe Lill who heads up the jazz program at North Park University was basically my mentor and showed me how to build a viable music career in the Chicago jazz scene.
Chicago Jazz Magazine: You have a new group called “Michele Thomas and SoulMeme” debuting at Pete Miller’s in Evanston December 16th & 17th. First tell us the significance/meaning of the name SoulMeme.
Thomas: We came up with the idea of SoulMeme as a way of describing our music and what drives it. We think of memes that spread through our culture like pictures, symbols, phrases and even gestures. Memes come into existence when message meets motion; and that’s a concept that I’ve pondered about a lot as it relates to the propagation of music, especially jazz. My desire is that jazz doesn’t merely exist, but it continues to evolve, grow and instill its relevance into future generations in a spectral manner.
Chicago Jazz Magazine: How did the concept for the band come about and what repertoire will you be performing?
Thomas: The core members of our band actually go way back. Darren Scorza, my husband and our drummer, Neal Alger our guitarist and Bob Lovecchio our bassist and I have played together for years. And I think we’ve always been drawn together through the years because of a shared musical aesthetic and our fluidity between jazz and other genres. So I knew these were the guys I would want to continue on the journey with as I wrote more original music and new arrangements.
We’ll be performing a mixture of contemporary and straight-ahead jazz, infused with a little gospel, r&b and sometimes funk. And we’ll cover some great arrangements by Joe Sample, Percy Mayfield, Abbey Lincoln, Luciana Souza, Billie Preston, Wayne Shorter, Maia Sharp, and Josef Myrow, as well as a few of my own originals sprinkled throughout the sets.
Chicago Jazz Magazine: Who will be in the band at Pete Miller’s this Friday and Saturday night?
Thomas: This weekend I’ll be playing with some of our extended SoulMeme family of players who I also love and admire.…on Friday we’ll feature Darren Scorza on drums, Neal Alger on guitar and James Ross on bass. And on Saturday we’ll feature Darren once again on drums, Jo Ann Daugherty on piano and Cory Biggerstaff on bass.
Chicago Jazz Magazine: After this performance, what do you have coming up in the future?
Thomas: SoulMeme will be back at Pete Miller’s in January and we’re working towards more bookings in 2017. But I’m also excited to premiering at the new Winter’s Jazz club in January. We’ll be performing more of our classic and vintage jazz sets on that evening. My hope is to put together a demo of original music later next year and work towards another album release going forth.
Mike Jeffers
Chicago Jazz Magazine
MESSENGER
"Michele Thomas takes her inspiration from Stevie Wonder, even covering some of his most familiar songs on Messenger. However, as jazzy as Wonder can get, Thomas is even jazzier than the iconic Motown artist.
"Michele Thomas takes her inspiration from Stevie Wonder, even covering some of his most familiar songs on Messenger. However, as jazzy as Wonder can get, Thomas is even jazzier than the iconic Motown artist.
She opens with “Have a Talk with God,” which leans heavy upon funky electric guitar. Thomas also reveals a bit of a feminist strain when she refers to god as ‘she’ toward the end of the track.
Another religious one (then again, God has been all through Wonder’s work over the years) is “Jesus Children.” This song was likely originally inspired by the Jesus People movement of the late 60s/early 70s, particularly in Southern California where churches like Costa Mesa’s Calvary Chapel were accepting hippies of that era with open arms, while many mainstream churches were trying to hold these long-haired, sloppily-dressed young people at arm’s length. Thomas’ version includes plenty of brass horn work and female backing vocals.
Perhaps the most straightforward jazz song on this collection is “Dee Song (For Andrea).” It’s backed not by a funky guitar part, but with a gentle, Joe Pass-like traditional jazz electric bed, and built upon complicated jazz chords. It’s a soft song that Thomas sings prettily.
“Higher Ground” is sung with the necessary anger. When Red Hot Chilli Peppers covered it, they did so as though it were some sort of fun funk workout. And while the funk groove is undeniable, to sing it without vitriol directed toward the powers that be only gets it half right. Thomas’ version is jazzy, with horns and more of a jazz-fusion feel, rather than some sort of 70s funk. Oh, and she sounds really angry on it.
For “They Won’t Go When I Go,” Thomas transforms the tune into a percolating number that has African music elements running through it. The guitar part sounds a little Nigerian in places. Thomas holds back her vocals when singing it and lets the guitar and simple organ part take up much of the sonic space. At one point, Thomas works in a few lines of Curtis Mayfield’s “People Get Ready,” which was a hit – and a popular Civil Rights song – from the 60s.
Thomas gives “If It’s Magic” a breezy jazz feel. The track swings with a shuffling groove. It’s colored by acoustic piano and busy drumming. It’s also a little on the Latin side, stylistically.
On “Triple Play,” Thomas performs her most complicated jazz vocal. The song sounds to be in 6/4 at times, but it’s by no means any sort of waltz. Thomas spars with her electric guitarist throughout, which makes the song into a sort of guitar versus vocal duel. Thomas even scats a bit on the tune.
The album closes with “Big Brother,” and it returns a bit to the African roots Thomas explored with “They Won’t Go When I Go.” Once again, percussion is upfront in the mix. Her take on this song may remind you a little of Paul Simon’s Graceland recording. The song’s lyric is quite dark, as it’s sung from the perspective of someone living in the ghetto. Even so, Thomas infuses the track with a bright, upbeat feel. It’s almost as though she’s fallen in love with the melody; which, in this case, takes priority over the lyric. Even so, it sounds strange to hear Thomas singing in a Chaka Khan-like voice about roach-infested apartments.
Overall, this is a fun collection of reinterpretations. When someone can take such liberties with the original material, and never spoil the memories of Wonder’s version, shows just how strong Stevie’s compositions are. They’re so great melodically other artists can play with them and come up with new and beautiful covers. You may not even reach back for the old Wonder records quite so quickly after listening to this one." Rating: 4 Stars (out of 5)
Dan MacIntosh
ReviewYou.com
I'LL TAKE ROMANCE
"Vocalist Michele Thomas is one of those new artists that you anxiously wait to hear more from, after their first CD has been released.
"Vocalist Michele Thomas is one of those new artists that you anxiously wait to hear more from, after their first CD has been released. Indeed, if larks could record CDs, they'd sound like Michele. She has a style that is joyful and soulful, her love for jazz music emanates through her scats and song phrasing. This is one artist that you have no choice but to "dig" and I mean really sit up and listen. And that goes for even those who may not be hardcore jazz fanatics. Even if traditional jazz isn't your thing, Michele's seven track CD I'll Take Romance would change your mind before you could say the title of her CD. Michele sounds like an old jazz soul on the jazz standard "I'll Take Romance" and sings it with a level of familiarity as if it were written for her. Wayne Shorter's "Black Nile" never sounded so good and Michele shows off her skills as she adds lyrics to this jazz instrumental standard. Delve into "My One and Only Love" and Stevie Wonder's "Where Were You When I Needed You" and see how mellow and pleasant they are. Truly gems. Other songs on the CD include "Marmaduke", "Gentle Rain" and a unique version of Duke Ellington's "Come Sunday". It is neither straight-ahead jazz nor bordering on pop music. Just a musical oddity on a CD that more favors standard-like theme is all. Luckily for Michele, it turns out just fine."
Asha Brodie
JazzReview.com
MICHELE THOMAS ON "WORDS AND MUSIC" FEATURED ON CHICAGO TONIGHT
Jazz can bring to mind a dark nightclub after hours with a lot of booze, but we recently met a group of Chicago jazz musicians on a sunny summer morning – and they were fueled only by coffee and cake.
